for humanities sciences al qadisiya

The ideas adopted by John Stuart Mill(1806-1873) have their influence on English literature in the Victorian Age. This is because these ideas are in harmony with the spirit of the age which is characterized by a strong sense of inquiry and curiosity concerning God, Nature, Religion and so many other serious matters. Moreover, these ideas are a sharp reflection of many aspects of the social, economic, political and intellectual life in the Victorian Age.
This paper is devoted to study some of the aspects of the influence of J.S.Mill on Some Victorian Writers. It traces this influence on the literary production of some distinguished Victorian poets and novelists such as Tennyson, Arnold, Dickens, Hardy and some other ones.

The present study aims at analyzing the elaboration of the theme of terrorism in Robin Soans' (1946- ) Verbatim play Talking to Terrorists (2005). In this play, Soans presents terrorism in its different forms, tactics, and effects through making not only the terrorists to speak but also the individuals who had certain experiences with terrorism. Moreover, the play attempts to raise questions and solutions of how to control the plague that has been always responsible for reaping lives for nothing.
There is no universal issue attracted Man's attention, interest, curiosity, fear or even argumentation as it happened and is happening with the issue of terrorism. This might be attributed to the way terrorism is firmly linked to human life, fears, emotions, actions and reactions that used to be hidden before and now are all exposed. Actually the interest in terrorism is related to the sort of belief and thinking that dominates every nation and the various ideologies that control (or manipulate) it in dealing with internal or external affairs. As such, terrorism, which is based on conflict, is also responsible for creating conflicts inside nations as well all over the world and its condition as the direct outcome of wars and violent practices and damages. Some look at terrorism as a suitable means to serve announced or hidden agendas. Others view terrorism as a harmful action with catastrophic consequences because, sometimes it is only innocent people are entangled without any particular guilt just because they belong to a certain nation or a specific religious trend or even because they possess a particular political belief. The argumentation of this subject is rather a complex one to view or to discuss because it varies as the variety of human population and because "One culture's murderer is another's martyr [and] revolutionaries also can be freedom fighters."2 Whether this or that, terrorism in the 21th century started to take a certain form: it is to be the motto of rejection or disapproval to the practices of some powers or regimes in authority. Thus, to provide a compact definition of terrorism is still a matter of debate, but those who are anti-terrorists agree on the general frame of terrorism as:

Semantic change refers to the way in which the meaning of a word changes over long or short stretches of time. It can be internally or externally motivated .The equivalent to the paradigm in morphology is ,in semantics , the word field in which words and their meanings stand in a network of relationships .The alteration of meaning occurs because words are constantly used and what is intended by speakers is not exactly the same each time .If a different intention for a word is shared by the speech community and becomes established in usage then a semantic change has occurred.
This study is divided into three sections , the first is devoted to semantic change in English ,while the second is going to discuss it in Arabic ; however ,the third section will shed light on some samples chosen from the two languages to show how semantic change practically takes place across their history .The aim of this research is to state the stages of those two languages` development ,types of semantic change ,reasons and processes of word formation in each language . The following conclusions are shown:
1. Semantic change is , just like other types of linguistic change , continuous, not sudden but gradual and universal .
2. Gaps in the historical record between the identifiable stages called for the loss of the middle stage of Arabic , on the one hand , and produced the illusion of discontinuity between Anglo-Saxon and Middle English and between Middle English and Modern English , on the other hand .
3. Causes of semantic change are either linguistic or extra –linguistic .
4. As far as these two languages are concerned , they have passed different stages and were subject to different political and social factors , yet they have almost the same types .

AbstractSeamus Heaney is considered as one of the most popular poets, writing in English today. Although he wrote in a traditional simple style, his poetry is endowed with a special interest with the past, which was one of continuity for him. Thus, he refers recurrently to hid childhood in County Derry, where he was born and to Irish history in general. He tells the Catholics in Northern Ireland to stop contemplating their wounds and start thinking of the future.

The aim of the present paper is to explore metonymy as one of the major figures of speech in English as well as Arabic. It has been divided into three chapters. The first deals with the concept of metonymy in English through some definitions by Western linguists and rhetoricians. Types of metonymy are provided in the second section whereas the third section is reserved for the functions of metonymy. The second chapter is concerned with metonymy in Arabic. The same approach adopted in the first chapter is followed here. Definitions of metonymy by Arab linguists and rhetoricians are surveyed followed by a section on types of metonymy and a section on the functions of metonymy in Arabic. In the third chapter, similarities and differences in terms of definitions, types and functions between English and Arabic are indicated. The conclusions are summed up at the end of the paper

Pygmalion is originally a myth of Cyprus who is a great sculpture. This artist is a misogynist or at least dissatisfied with all the women of Cyprus so he remains a bachelor. He dreams of a perfect woman so he sculptures a marble woman who has been so beautiful that he prays to Aphrodite, the goddess of love, to find him a wife as lovely as his statue. Feeling pity for Pygmalion, Aphrodite transforms the lifeless statue into a real woman whom Pygmalion marries.Thus, the keynote for the myth itself and almost the whole later works inspired by this myth is the transformation that takes place to the female character whether a statue or a woman. In the myth, the divine power of the goddess transforms the cold ivory into a warm, living woman. In the other works, transformation is also applicable because a naïve girl is transformed into a lady with different speech, behaviour, attitude, and knowledge. This myth has had a long and various literary adaptations beginning with the Roman Ovid's Metamorphoses to John Marston's The Metamorphosis of Pygmalion's Image (1598), Thomas L. Beddoes' Pygmalion (1825), and W.S. Gilbert's Pygmalion and Galatea (1871). (1)This same myth has inspired the Irish playwright George Bernard Shaw ( 1856-1950) whose Pygmalion (1912) reflects his dramatic genius because the ancient myth has been developed, almost out of recognition, into a lifelike and modern play. Furthermore, among other adaptations of the myth, Shaw's Pygmalion is the most widespread and memorable play. Moreover, one of the most famous Egyptian dramatists inspired by this myth is Tawfiq Al-Hakim (1898-1987). Interestingly, this influential Arab playwright and writer is known to be a misogynist in his early years remaining a bachelor for an unusually long period of time. He is given the epithet "Enemy of Woman". This is probably one of the primary causes that attracts his attention to the myth but his play Pygmalion (1942), unlike Shaw's Pygmalion which has a realistic approach, deals with the myth from philosophical, psychological, and metaphysical points of view.(2) This paper examines the two approaches of Shaw and Al-Hakim to see how these dramatists apply the motif "transformation" in a way that serves the dramatic purpose of each.

AbstractThe present paper is an attempt to explore alternative questions in English and Arabic. In English, an alternative question is a type of questions in which the questioner offers the listener unbiased choices linked by the explicit disjunctive morpheme 'or' and the answer is expected to be identified with one of these choices. On the other hand, in Arabic, an alternative question which invites the listener to select from a predetermined set of answers by the questioner is formed by the use of the interrogative 'hemza' of perception followed by the connected and coordinated particle 'am' only.This paper falls into three sections. The first section deals with alternative questions in English in terms of scope, types and functions. Following the same way, the second section is concerned with alternative questions in Arabic. The last section concentrates on the similarities and differences in both languages: English and Arabic . Finally, the conclusions sum up the findings of the study.

Semantic change refers to the way in which the meaning of a word changes over long or short stretches of time. It can be internally or externally motivated .The equivalent to the paradigm in morphology is ,in semantics , the word field in which words and their meanings stand in a network of relationships .The alteration of meaning occurs because words are constantly used and what is intended by speakers is not exactly the same each time .If a different intention for a word is shared by the speech community and becomes established in usage then a semantic change has occurred.
This study is divided into three sections , the first is devoted to semantic change in English ,while the second is going to discuss it in Arabic ; however ,the third section will shed light on some samples chosen from the two languages to show how semantic change practically takes place across their history .The aim of this research is to state the stages of those two languages` development ,types of semantic change ,reasons and processes of word formation in each language . The following conclusions are shown:
1. Semantic change is , just like other types of linguistic change , continuous, not sudden but gradual and universal .
2. Gaps in the historical record between the identifiable stages called for the loss of the middle stage of Arabic , on the one hand , and produced the illusion of discontinuity between Anglo-Saxon and Middle English and between Middle English and Modern English , on the other hand .
3. Causes of semantic change are either linguistic or extra –linguistic .
4. As far as these two languages are concerned , they have passed different stages and were subject to different political and social factors , yet they have almost the same types .

AbstractSeamus Heaney is considered as one of the most popular poets, writing in English today. Although he wrote in a traditional simple style, his poetry is endowed with a special interest with the past, which was one of continuity for him. Thus, he refers recurrently to hid childhood in County Derry, where he was born and to Irish history in general. He tells the Catholics in Northern Ireland to stop contemplating their wounds and start thinking of the future.